Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Vietnam and from Salvador.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1961 to 1979.
I'm losing my edge.
To all the kids in Salvador and Beijing.
I'm losing my edge to the art-school Accra kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1983 at the first Art of Noise practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Pantaleimon to the grunge kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Crime. All the underground hits.
All The Flesh Eaters tracks. I heard you have a vinyl of every Agitation Free record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Das Ding,
The Real Kids,
Peter and Kerry,
Bizarre Inc.,
The Young Rascals,
Angry Samoans,
Circle Jerks,
Ultimate Spinach,
Youth Brigade,
Joey Negro,
Avey Tare's Slasher Flicks,
Bill Near,
Pole,
Negative Approach,
Kaleidoscope,
Public Image Ltd.,
Pierre Henry,
Sex Pistols,
Stockholm Monsters,
James White and The Blacks,
New Age Steppers,
Andrew Hill,
Visage,
Larry & the Blue Notes,
The Dave Clark Five,
Derrick Morgan,
Motorama,
The Offenders,
Henry Cow,
Roger Hodgson,
Accadde A,
Deadbeat,
Lizzy Mercier Descloux,
Masters at Work,
Mark Hollis,
Au Pairs,
Lyres,
The J.B.'s,
Brick,
The Black Dice,
The Detroit Cobras,
Dave Gahan,
The Fugs,
The Doors,
New York Dolls,
Sonic Youth,
Dennis Brown,
Young Marble Giants,
Boogie Down Productions,
La Düsseldorf,
Sixth Finger,
Dawn Penn,
Barclay James Harvest,
Pylon,
DJ Style,
The Names,
The Smiths,
Visionaries,LMNO, T- Love & Iriscience,
Chris & Cosey,
F. McDonald,
T. Rex, T. Rex, T. Rex, T. Rex.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.